Kanye West

The "Kurse" of Kim K.: Blackness, Beauty, and Big Behinds

An interesting article on beauty and race. 

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Way before the world was “keeping up” with her and her family, Kim Kardashian was just another the young, wealthy girl living in Southern California. As the former girlfriend of Michael Jackson’s nephew and the goddaughter of O.J. Simpson, Kim was able to enjoy the fruits of white privilege amidst the company of high profile black men, way before her days as an A-lister. And her high profile relationships with a number of black athletes and celebrities would also help her transition from Beverly Hills beauty to international superstar. 

With her sextape with Brandy’s brother Ray J. as her introduction to Hollywood, many see Kim’s fame as bearing a dark shadow. This “dark shadow” may be attributed to her raven locks or dark eyes, but in many ways it references Kardashian’s relationship to blackness.

What some may consider to be an exotic appeal, is actually the “kurse” (to use their own branding) of the Kardashians: embodying and impersonating black femininity for profit, while still advancing white female beauty dynamics. Interestingly, Kim’s whiteness was initially debated amidst her initial Hollywood presence. This initial query didn’t change the color of Kim’s skin, but did create a dissonance between Kim and her whiteness that allowed her to falsely align herself and her family with black people and culture. 

While the alignment between the Kardashians and black males is overt, their allegiance with black women occurs silently. Although Kim and her family may disrupt the normative thin, blonde, and blue-eyed beauty standard associated with whiteness, their presence still means black women do not benefit from this new definition of beauty. 

Admittedly, I initially fell into the allure of Kim Kardashian. I saw praise for dark hair, dark eyes, and a big booty, and (like many other young black women) assumed this meant there was a place for my beauty in today's world. However, this couldn't be more false. Despite the way Kim’s dark hair and big booty challenge former mainstream beauty ideals, she is still a white woman. And white women still remain the beholders of beauty in our society. Kim’s body serves as a form of black face, that—in addition to her black significant other—opens the doors for her success more than they would for black female celebrities.

Kim Kardashian represents non-black women who envy and appropriate blackness, but do not wish to endure the consequences of blackness in a racist society. Non-black women often mimic attributes of black beauty to gain acknowledgement, only to retreat into their white privilege once obtaining the spoils. Perhaps this is best illustrated through Kim’s most recent photo shoot for PAPER magazine. In the photo shoot, Kim starts with wearing a black dress that is eventually removed. The dress represents Kim's ability to remove her "blackness," as her entire image seems to displace traditional black female traits onto a white woman. Thus, Kim’s personal advancements mark a significant step backwards for the black woman, as Kim is a reminder that the value of blackness goes up when detached from a black body. 

The Kardashians is that they falsely present themselves as allies to blacks. Recently, Khloe Kardashian posted an Instagram photo (which was quickly removed) of herself and her sisters that stated, “The only KKK, to let blacks in.” This act demonstrates an inappropriate comfort level not only enabled by their white privilege, but also by their associations with black people. This comfort level with blackness makes them forget that they are in fact white.


However Khloe’s Instagram post makes for an interesting comparison between the Kardashians and the notorious racial terrorist group. The post ignorantly implies that the Kardashians are an improvement to the beliefs and behaviors of the infamous group. But the very posting of this picture was an act of racism.

he exoticism achieved by non-black women with black attributes is insulting for black women, who are often ridiculed for these same traits. Perhaps this fact is best illustrated by Saartje Baartman. Despite Baartman's beauty, her derriere made her a “freak.” Her physical attributes were used to substantiate the constructs of the black woman's aesthetic inferiority, and she was the first woman to put round and protruding derrieres on the map. However, Baartman’s story was not a happy one, as she bears the painful reality of how the same attributes that made Kim an international star, made a black woman a circus attraction.  

Interestingly, Kim’s climb to the top has created what she has been arguably trying to be her whole career: a black woman. Her most recent racy spread, which features her but oiled up and achieving an unusual balancing act has many wondering about how this will affect her 17-month-old daughter North, specifically as she grows up to be a black woman. This in addition to all the other young black girls who will know Kim Kardashian, not Saartje Baartman, as their first big booty girl. What does it mean for young women of color to see a white woman gain fortune and fame via spray tans and an oiled up derriere? 


The true “kurse” of Kim Kardashian is the salt she places in a timeless wound of under-appreciated black beauty. 

Source: http://www.forharriet.com/2014/11/the-kurs...

Lorde recruits Grace Jones, Q-Tip and Chemical Brothers for Hunger Games soundtrack

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Sole music curator of The Hunger Games: Mockingjay – Part 1 announces soundtrack for film, featuring a Kanye remix and new songs from the singer’s ‘true heroes’

 

Lorde has announced details of her soundtrack to the newest Hunger Games film, recruiting Kanye West, Grace Jones, Chemical Brothers and other “heroes” to record original songs for the movie.

Lorde, who is 17, was announced this summeras the “sole curator” of the third in what has become a lucrative series of soundtrack albums. Like the previous records, the music for The Hunger Games: Mockingjay – Part 1 brings together all-new songs from various pop, hip-hop and indie rock talents; unlike its predecessors, Lorde herself was pestering the artists to make sure they would contribute.

“It was really important to me with the soundtrack that people know how involved I was,” Lorde told Billboard. “A lot of that was me reaching out to people directly, having a conversation on the phone, sending an email, sending a text.” Lorde didn’t want acts to feel like their music was “going to be flung into some pot and chosen later … I really cared about what was happening.”

With this in mind, at least 15 of Lorde’s “true heroes” recorded songs in tribute to Katniss, Peeta and the suffering citizens of Districts 1 through 13. Several of the tracks are collaborations: Charli XCX with Duran Duran’s Simon Le Bon, the Chemical Brothers with Miguel, and Stromae’s Meltdown features Lorde, Pusha T, Q-Tim and Haim. Other contributors include Bat For Lashes, Tove Lo and Chvrches, while Kanye “reworks” Flicker.

One cut still remains mysterious: track five is “To Be Announced”, according to the official press release. But as Lorde tweeted on Wednesday, the vague details aren’t there “[for] secrecy’s sake”: the teen star, who only just completed a world tour, hasn’t “quite finished” the song.

Even without a celebrity curator, the previous Hunger Games soundtracks secured songs by top-flight artists such as Coldplay, Taylor Swift and Arcade Fire. Both reached the US billboard’s top 10.

The Hunger Games: Mockingjay — Part 1, the second-last instalment in the series, arrives in UK theatres on 20 November.

Soundtrack tracklist:

1. Meltdown – Stromae ft Lorde, Pusha T, Q-Tip & Haim
2. Dead Air – Chvrches
3. Scream My Name – Tove Lo
4. Kingdom – Charli XCX ft Simon Le Bon
5. TO BE ANNOUNCED
6. Lost Souls – Raury
7. Yellow Flicker Beat – Lorde
8. The Leap – Tinashe
9. Plan The Escape (Son Lux Cover) – Bat For Lashes
10. Original Beast – Grace Jones
11. Flicker (Kanye West Rework) – Lorde
12. Animal – XOV
13. This Is Not a Game – The Chemical Brothers ft Miguel
14. Ladder Song – Lorde

 

Source: http://www.theguardian.com/music/2014/oct/...

Meet Sammy Needlz - Coming To The Lodge April 26th w/Diamond D.

New York City's SAMMY NEEDLZ is a modern day renaissance man. Lucky for DC, DJ’ing is the vehicle Sammy uses to keep is face popping up state to state and continent to continent. Holding down major spots all over the U.S., U.K., France, Germany and as far away as Russia, Sammy makes his stop in DC at THE LODGE AT REDROCKS this Saturday April 26th alongside Grammy Award winning producer and hip-hop legend, DIAMOND D. 

Sammy spins frequently at many of New York City’s hottest venues, but it is his renowned musicianship and skills as a writer/producer that continue to influence his sets and make him an influential figure in the global DJ community. When not in the club, you can catch Sammy co-hosting MTV's "RapFixLive." Sammy is also the on-air DJ & Host of the acclaimed “ShowOff Radio” on Eminem’s Shade45 SiriusXM station, as well as "Dancehall Saturday Night" on The Joint42 SiriusXM. 

Sammy flexes a vast knowledge of music past and present. His sets include Pop, Hip-Hop, R&B, Dancehall, Rock, Electro, Funk, Soul, Disco and House. It is this diverse knowledge of music and ability to seamlessly fuse genres that allows Sammy to play for the casual music lover, as well as the discerning connoisseur. It’s no surprise that his skills have been called upon to open stadium concerts for some of music’s biggest names like 50 Cent, Pharrell Williams and N.E.R.D, Kanye West, John Legend, Snoop Dogg, The Roots, and Busta Rhymes. Brands such as Converse and Beats By Dre have trusted Sammy to help launch products at many of their corporate events. 

Sammy redefines the term “DJ” by fusing instinct and artistry with skill and finesse. From fortune 500 brands to thousands of screaming fans Sammy Needlz moves and inspires his crowd every time. The Lodge At RedRocks is excited to have SAMMY NEEDLZ this Saturday April 26th for a very special evening in which Grammy Award winning producer DIAMOND D will kick off an early evening listening party at 8pm for his newest album, “The Diam Piece.” Sammy starts the dance party immediately afterward at 9pm. Event page HERE.

Kanye West Doesn't Like to Do Much of Anything, Huh?

Whatever you do, dont life a finger

Man, Kanye West is likely one of the most annoying, most self-indulgent celebrities on the face of the earth, and this video is going to make you roll your eyes so hard, they might just fall out of your head. Seriously, they might. And then when you're scrambling about, trying to pick them back up all quick-like -- 5 second rule! -- you're gonna roll them all over again when you actually take note that you sort of feel bad for the lack of chivalry that Kanye shows to baby mama Kim Kardashian basically the whole entire time. 


Read more: http://www.fishwrapper.com/post/2014/01/24/kanye-west-lazy-video-kim-kardashian-stroller-baby-nori-north-west-car-seat/#ixzz2rYYLY4Nk
Follow us: @fishwrapped on Twitter

Via FishWrapper

A Baby has more expensive shoes then you....."personalised Christian Dior baby booties"

Christmas has come early! North West is showered with expensive gifts from Kim Kardashian and Kanye West's designer pals


Read more via DailyMail

She's only six months old but North West’s designer wardrobe will soon rival her mother Kim Kardashian's. 

The famous tot – whose father is Kanye West – received a slew of early Christmas presents from world famous designers and Kim took to Instagram and Twitter to share pictures and gushingly thank her benefactors. 

Stella McCartney, Giuseppe Zanotti, Charlotte Olympia and Hermes Paris all sent expensive, and in some cases, custom made, gifts to North.

Kim also shared a picture of a £105 pair of Hermes pink cashmere booties and a £240 knitted cotton baby blanket with the message: 'Thank you Michael Coste and Hermes Paris for the sweet gift for North! (sic).'

Stella McCartney sent three onesies for the youngster, which all retail for more than £60 while Charlotte Olympia, whose adult size Kitty shoes sell for £425, sent a child sized pair for North. 

Kim wrote 'Thank you so much Stella for these adorable clothes for Nori!' and 'Thank you Charlotte for the cutest kitty shoes for North! Xo (sic).'

Kim and Kanye welcomed North, affectionately known as 'Nori', into the world on June 15, and the pampered tot was quickly showered with a whole host of designer gifts.

Beyoncé and Jay-Z - Kanye's best pal - reportedly took along a staggering £5,000 worth of gifts on their first meeting with the little one, including a pair of personalised Christian Dior baby booties and a three-piece sterling silver Elsa Peretti Padova baby set.

 

Source: http://www.dailymail.co.uk/tvshowbiz/artic...

Is Kanye West losing his cool appeal? And is Kim Kardashian to blame?

Or is his douchiness just catching up to him?

Is it a "Kardashian kurse" or is Kanye West losing his cool all on his own? In any case, popularity problems seem to be plaguing the once untouchable rap sensation.

West’s performance this week brought just 4,500 people to the Sprint Center, a venue built for 19,000, meaning less than 24 percent of seats were occupied. He has had to cancel several other shows throughout his nationwide tour and drew criticism when he stopped a Florida concert after only three songs and demanded the lights be turned off before launching a profanity-laced rant at the tech staff and storming off the stage.

So is West’s egotistical, bizarre behavior finally taking its toll on fans?

“We are often drawn to people who have an ego and confidence that is derived from their talent. But an empty ego, based on a fake self-inflated image and concept, creates an over powering sense of desperation and superficiality,” human behavior expert Patrick Wanis told FOX411.

West has made headlines frequently lately, more due to his outlandish remarks than his trailblazing talent. We’ve heard the rapper compare himself to everyone from Jesus, Michael Jordan and Steve Jobs to Nelson Mandela, Michelangelo and Michael Jackson – and amid all that talk, he has also managed to offend much of the Jewish population.

More here via Fox

Also over the weekend he was over heard Kanye West was at his Kanye Best during Art Basel Miami at a panel discussion with architect Jacques Herzog. Here are some things Kanye said using his outdoor voice while indoors.

“Famous and frustrated is the most irritating f**king thing…like I am frustrated ’cause I made a film and nobody liked it,”
“If I like it, I like it. No one can tell me who I like or what I’m supposed to be.”

“Contrary to popular belief, I’m not in touch with my femininity.”

“Good taste is a gift, bad taste is a privilege.”

“Watches are dated…all you who has a watch is checking the time on your iPhones.”

“I found my own language in the noise, from which we all want to scream out.”

“When I was in art school I would paint music because I could see it.”

“I think the world could be saved by design… Made more ergonomic to our current state.” “That’s one of the things I found out with Yeezus, that I do have a voice.”

- via RadarOnline.

 

Source: http://www.foxnews.com/entertainment/2013/...

Kanye, Lohan and others Make Confessions in Thirty Seconds to Mars Video

Buy the new album LOVE LUST FAITH + DREAMS on iTunes: http://smarturl.it/LLFD Directed by Jared Leto "City of Angels" a short film by THIRTY SECONDS TO MARS, featuring Alan Cumming, Ashley Olsen, Corey Feldman, James Franco, Juliette Lewis, Kanye West, Lily Collins, Lindsay Lohan, Olivia Wilde, Selena Gomez, Shaun White, and Steve Nash.

How Yeezus Finally Evolved The Music Industry

Great article / perspective written by Marcus K. Dowling taken from Medium.com  

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Kanye West intentionally made an album nobody wanted to buy, yet everyone still heard. What does this mean for the future of pop music?

On June 13th of this year, Kanye West released Yeezus, his sixth studio album. Until this album’s release, in a nine-year career as a solo artist, West sold a combined 13 million albums in the United States alone. Furthermore, he has arguably become one of this generation’s most intriguing and progressive musical artists. All of these plaudits aside — in a manner similar to most every other artist in this generation — West’s career of late has been plagued by a precipitous decline in album sales. Once a traditionally dominant revenue stream, now due to the notion of album piracy becoming commonplace (and a few other key indicators) it is one of many key commercial sources for a successful artist. With this being the case, it is entirely possible that Yeezus — an often cacophonous, aesthetically militant and downright perverse listen — was crafted by a rapper that had finally decided that if the popular notion is that music is meant to be heard, but not sold, then it was time to make an album that met that expectation. In reaching this point, what exactly does this mean for the future of albums? Even further, what does this mean for the barriers (or lack thereof) regarding artistic creativity in popular music in the 21st century?

In its debut week on the market, Yeezus sold 327,000 copies. Week two’s sales figures hit 65,000 copies, an 80% drop from the previous week. As much as Billboard Magazine’s Keith Caulfield attributes the album sales decline to Yeezus’ “untraditional marketing,” it may be that Yeezus fell prey to an unprecedented number of pirate downloads coupled with one of the single greatest cases of “buyer beware” in recent musical history.

When Yeezus leaked on Friday, June 14th, the Washington Post’s Chris Richards described it in truly epic terms: “[Yeezus] didn’t leak online over the weekend. It gushed out into the pop ecosystem like a million barrels of renegade crude — ominous, mesmerizing and of great consequence.” If the standard by which we measure first week rap album sales is Jay Z’s 2013-leading 527,000 buys, it’s entirely possible that a seemingly unprecedented 200,000 potential Yeezus buyers gladly found the album somewhere on the internet for free.

As well, for as many positive reviews that the record received from internet pundits, the average listener offered more jaded feedback. In fact, OkayPlayer’s “Big Ghostface” (known for a provocative writing style that mimics street corner slang) alluded to one of many issues that the less critically attuned ear would have with the album: “Brother Ye on his pro black s**t for this joint namsayin. Son really tryin to make his pro-BLACKest song to the pro-WHITEst music here tho. I cant say I all the way f***s wit this s**t… “

The 21st century reflects a plethora of polarities with which the universe must deal. In fact, it may be in so brashly dealing with these concerns that developed the creative impulse behind the album. However, for an artist who brashly compares himself to Apple co-founder Steve Jobs, to have an oft-discussed and intriguing listen that has commercially underwhelmed could be the ultimate definition of a gift and a curse in these polarized times.

These are the amazing truths of the world in which Yeezus creatively resides. Barack Obama is both a black man and the President of the United States. Jay Z released an album that was aided in going platinum even before its digital and physical release date by Samsung bolstering its aspirations for dominating the mobile market bypurchasing one million copies and releasing the album with an app. To celebrate, the rap mogul released a 10-minute long video where he raps about copulating with his pop star wife in a manner similar to having sex with a prostitute, then proceeded to dance with noted performance artist Marina Abramovic. As well, among many issues, global warming is real and while kids have cell phones, they don’t learn cursive in school anymore.

In response, Kanye assumes the role of Jesus Christ entering the temple, assessing the flaws residing within, and promptly tearing it asunder in anger. Rap groupies are apparently scandalous enough to be dealt with via lynching, so much blood on so many leaves. As well, black people are slaves to luxury and are shouted at over a track that is the sonic equivalent of impending revolutionary violence, that demanded an ominous video to be displayed on the sides of buildings throughout the United States. Misogyny, sociopathic allusions, narcissism and outright blasphemy exist in abundance. It indeed is an album where few pop-friendly reasons were given for purchasing, but absolutely everyone had to hear.

Whether a fan of or truly repulsed by Yeezus, it is an undeniably brilliant deconstruction of the overabundance of issues that potentially plague popular music-at-present. To head into the creative process knowing that the goal is more to make statements than sell singles, then the potential of the output is arguably limitless.

If a fan of electronic dance’s marriage with rap, there may be no better produced co-mingling of the two in recent memory than anything Daft Punk or upstart bass-friendly duo TNGHT create on the album. As well, if you find that lyrical simplicity is a wonderful anathema to years of over-intellectual and lyrically dense rap, when Kanye West says “I AM A GOD,” there’s really nothing left to question and nothing else that needs to be said. Miss Kanye’s love of soul samples? “Bound 2" is mellifluous and hearkens back to the days of Kanye being a College Dropout, and not being very angry about much of anything at all.

Insofar as the future? Yeezus finally reset popular music. In being intriguing, dense and well delivered as craftsmanship with artistic merit, it excels. In creating a critical divide and being so far a commercial failure (as compared to likely public expectations), it’s a positive as well, as in so boldly opening the door, the fools (as they always do) will likely rush in first, allowing the cream (aka those who learn from where Yeezus excelled and where it, quite possibly intentionally, fell short insofar as currying favor in the arena of public opinion) to rise to the top. A future where popular music reinvigorates itself and yet again meet a style and function in line with the demands of a radically altered era is entirely likely, a pleasant notion and a logical possibility.

 

Exec Direc. @ListenVision@WLVSRadio | Biz Dev. & Acquisition Consultant@rossbizmgmt | #GDM Global dance music PR@VamosPromo | Music industry muckraker

 

 

Source: https://medium.com/world-of-music/ef7ed9de...

Lou Reed Reviews 'Yeezus'

Kanye West is a child of social networking and hip-hop.  And he knows about all kinds of music and popular culture.  The guy has a real wide palette to play with.  That's all over Yeezus.  There are moments of supreme beauty and greatness on this record, and then some of it is the same old shit.  But the guy really, really, really is talented.  He's really trying to raise the bar.  No one's near doing what he's doing, it's not even on the same planet.

People say this album is minimal.  And yeah, it's minimal.  But the parts are maximal.  Take "Blood on the Leaves." There's a lot going on there:  horns, piano, bass, drums, electronic effects, all rhythmically matched — towards the end of the track, there's now twice as much sonic material.  But Kanye stays unmoved while this mountain of sound grows around him.  Such an enormous amount of work went into making this album.  Each track is like making a movie.

Actually, the whole album is like a movie, or a novel — each track segues into the next.  This is not individual tracks sitting on their own island, all alone.

Very often, he'll have this very monotonous section going and then, suddenly —"BAP! BAP! BAP! BAP!"— he disrupts the whole thing and we're on to something new that's absolutely incredible.  That's architecture, that's structure — this guy is seriously smart.  He keeps unbalancing you.  He'll pile on all this sound and then suddenly pull it away, all the way to complete silence, and then there's a scream or a beautiful melody, right there in your face.  That's what I call a sucker punch.

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He seems to have insinuated in a recent New York Times interview that My Beautiful Dark, Twisted Fantasy was to make up for stupid shit he'd done.  And now, with this album, it's "Now that you like me, I'm going to make you unlike me."  It's a dare.  It's braggadoccio.  Axl Rose has done that too, lots of people have.  "I Am a God" — I mean, with a song title like that, he's just begging people to attack him.

But why he starts the album off with that typical synth buzzsaw sound is beyond me, but what a sound it is, all gussied up and processed.  I can't figure out why he would do that.  It's like farting.  It's another dare — I dare you to like this.  Very perverse.

Still, I have never thought of music as a challenge — you always figure, the audience is at least as smart as you are.  You do this because you like it, you think what you're making is beautiful.  And if you think it's beautiful, maybe they'll think it's beautiful.  When I did Metal Machine MusicNew York Times critic John Rockwell said, "This is really challenging."  I never thought of it like that.  I thought of it like, "Wow, if you like guitars, this is pure guitar, from beginning to end, in all its variations.  And you're not stuck to one beat."  That's what I thought.  Not, "I'm going to challenge you to listen to something I made."  I don't think West means that for a second, either.  You make stuff because it's what you do and you love it.

That explains the jump-cuts that are all over this record.  Over and over, he sets you up so well — something's just got to happen — and he gives it to you, he hits you with these melodies.  (He claims he doesn't have those melodic choruses anymore — that's not true.  That melody the strings play at the end of "Guilt Trip," it's so beautiful, it makes me so emotional, it brings tears to my eyes.)  But it's real fast cutting — boom, you're in it.  Like at the end of "I Am a God," anybody else would have been out, but thenpow, there's that coda with Justin Vernon, "Ain't no way I'm giving up."  Un-fucking-believable.  It's fantastic.  Or that very repetitive part in "Send It Up" that goes on five times as long as it should and then it turns into this amazing thing, a sample of Beenie Man's "Stop Live in a De Pass."

And it works.  It works because it's beautiful — you either like it or you don't — there's no reason why it's beautiful.  I don't know any musician who sits down and thinks about this.  He feels it, and either it moves you too, or it doesn't, and that's that.  You can analyze it all you want.

Many lyrics seem like the same old b.s. Maybe because he made up so much of it at the last minute.  But it's the energy behind it, the aggression.  Usually the Kanye lyrics I like are funny, and he's very funny here.  Although he thinks that getting head from nuns and eating Asian pussy with sweet and sour sauce is funny, and it might be, to a 14-year-old — but it has nothing to do with me.  Then there's the obligatory endless blowjobs and menages-a-trois.

But it's just ridiculous that people are getting upset about "Put my fist in her like a civil rights sign"?  C'mon, he's just having fun.  That's no more serious than if he said he's going to drop a bomb on the Vatican.  How can you take that seriously?

And then he'll come out with an amazing line like "We could have been somebody."  He's paraphrasing that famous Marlon Brando line from On the Waterfront, "I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. It was you, Charlie."  Or he says "I'd rather be a dick than a swallower" — but then he does a whole chorus with Frank Ocean.  What he says and what he does are often two different things.

"Hold My Liquor" is just heartbreaking, and particularly coming from where it's coming from — listen to that incredibly poignant hook from a tough guy like Chief Keef, wow.  At first, West says "I can hold my liquor" and then he says "I can't hold my liquor."  This is classic — classic manic-depressive, going back and forth. Or as the great Delmore Schwartz said, "Being a manic depressive is like having brown hair."

"I'm great, I'm terrible, I'm great, I'm terrible."  That's all over this record.  And then that synthesized guitar solo on the last minute and a half of that song, he just lets it run, and it's devastating, absolutely majestic.

There are more contradictions on "New Slaves," where he says "Fuck you and your Hamptons house."  But God only knows how much he's spending wherever he is.  He's trying to have it both ways — he's the upstart but he's got it all, so he frowns on it.  Some people might say that makes him complicated, but it's not really that complicated.  He kind of wants to retain his street cred even though he got so popular.  And I think he thinks people are going to think he's become one of them — so he's going to very great lengths to claim that he's not.  On "New Slaves," he's accusing everyone of being materialistic but you know, when guys do something like that, it's always like, "But we're the exception.  It's all those other people, but weknow better."

"New Slaves" has that line "Y'all throwin' contracts at me/ You know that niggas can't read."  Wow, wow,wow.  That is an amazing thing to put in a lyric.  That's a serious accusation in the middle of this rant at other people: an accusation of himself.  As if he's some piece of shit from the street who doesn't know nothing.  Yeah, right — your mom was a college English professor.

He starts off cool on that track but he winds up yelling at the top of his voice.  I think he maybe had a couple of great lines already written for this song but then when he recorded the vocal, but then he just let loose with it and trusted his instincts.  Because I can't imagine actually writing down most of these lines.  But that's just me.

But musically, he nails it beyond belief on"New Slaves."  It's mainly just voice and one or two synths, very sparse, and then it suddenly breaks out into this incredible melodic… God knows what.  Frank Ocean sings this soaring part, then it segues into a moody sample of some Hungarian rock band from the '70s.  It literally gives me goosebumps.  It's like the visuals at the end of the new Superman movie — just overwhelmingly incredible.  I played it over and over.

Some people ask why he's screaming on "I Am a God."  It's not like a James Brown scream — it's a real scream of terror.  It makes my hair stand on end.  He knows they could turn on him in two seconds.  By "they" I mean the public, the fickle audience.  He could kill Taylor Swift and it would all be over.

The juxtaposition of vocal tones on "Blood on the Leaves" is incredible — that pitched-up sample of Nina Simone singing "Strange Fruit" doing a call-and-response with Kanye's very relaxed Autotuned voice.  That is fascinating, aurally, nothing short of spectacular.  And holy shit, it's so gorgeous rhythmically, where sometimes the vocal parts are matched and sometimes they clash.  He's so sad in this song.  He's surrounded by everyone except the one he wants — he had this love ripped away from him, before he even knew it.  "I know there ain't nothing wrong with me… something strange is happening."  Well, surprise, surprise — welcome to the real world, Kanye.

It's fascinating — it's very poignant, but there's nothing warm about it, sonically — it's really electronic, and after a while, his voice and the synth are virtually the same.  But I don't think that's a statement about anything — it's just something he heard, and then he made it so you could hear it too.

At so many points in this album, the music breaks into this melody, and it's glorious — I mean, glorious.  He has to know that — why else would you do that?  He's not just banging his head against the wall, but he acts as though he is.  He doesn't want to seem precious, he wants to keep his cred.

And sometimes it's like a synth orchestra.  I've never heard anything like it — I've heard people try to do it but no way, it just comes out tacky.  Kanye is there.  It's like his video for "Runaway," with the ballet dancers — it was like, look out, this guy is making connections.  You could bring one into the other — ballet into hip-hop — they're not actually contradictory, and he knew that, he could see it immediately.  He obviously can hear that all styles are the same, somewhere deep in their heart, there's a connection.  It's all the same shit, it's all music — that's what makes him great.  If you like sound, listen to what he's giving you. Majestic and inspiring.

 

Source: http://thetalkhouse.com/reviews/view/lou-r...

Kanye Gets Punk on SNL!

Its hard in the life we live of total engulfed social media, not to be swayed or influenced by an artists personal life or antics. I cant imagine being in a room for 5 minutes with the self indulgent Kanye West that I constantly have shoved in my face. However, I cant get enough of the artist, Kanye West. As a consumer, his artist side is consistently doing everything I'd want him to do, but one step ahead. Just enough to always keep me interested in what's next.  

Maybe if it wasn't for Kanye always telling everyone how lucky we are to be in his presence, we'd be less surprised when he actually does something that makes us want to be in his presence. Maybe that's his genius and we are just a part of the Kanye West game?

You can love him. You can hate him. But Kanye West's music is received on a major pop music level while he's constantly showing us these days that he doesn't give a fuck about pop radio! And its STILL working! That is art. THAT is punk rock!

I'm not sure what the rest of the new album entitled Yeezus that comes out on June 18th will sound like. But after hearing the couple songs performed on SNL this past Saturday night, here's to the most punk rock tracks we've heard from any punk rock artist in a long time... and this time its coming from a rapper. Cheers! ​

KANYE WEST OFFICIAL SITE: http://www.kanyewest.com/

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That Dang Kanye's at It Again

Kanye West debuted a new song in the most Kanye West way possible: By projecting his giant head onto the sides of 66 different buildings around the world.

All the locations where you can check this out—both the new song and the accompanying visual—are mapped on KanyeWest.com : The 10 cities are New York, San Francisco, Los Angeles, Miami, Chicago, Toronto, Paris, London, Berlin, and Sydney, with most or all cities featuring multiple locations.

Williamsburg premiere

Source: http://www.slate.com/blogs/browbeat/2013/0...